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Satish Padiyar is Senior Lecturer in Nineteenth-Century European Art at The Courtauld Institute of Art. He is author of Chains: David, Canova and the Fall of the Public Hero in Postrevolutionary France (2007) and editor of Modernist Games: Cézanne and His Card Players (2013). He is currently preparing a monograph on Jean-Honoré Fragonard.Philip Shaw is Professor of Romantic Studies at the University of Leicester. He is author of Waterloo and the Romantic Imagination (2002), The Sublime (2006) and Suffering and Sentiment in Romantic Military Art (2013), and editor of Romantic Wars: Studies in Culture and Conflict, 1793-1822 (2000). He has written essays on military art in the Romantic period for Soldiering in Britain and Ireland, 1750-1850: Men of Arms (2013) and Tracing War in British Enlightenment and Romantic Culture (2015).Philippa Simpson is Client Project Manager at the Victoria and Albert Museum. She was co-curator and catalogue author of Turner and the Masters (Tate Britain, Musée du Louvre, Museo del Prado) and Blake and British Visionary Art (Pushkin Museum) and has contributed essays to Turner Inspired: In the Light of Claude (2012), Blake 2.0: William Blake in Twentieth-Century, Art, Music and Culture (2012) and Sexy Blake (2013). Individually and collectively, the essays in this cross-disciplinary collection explore the impact of the revolutionary and Napoleonic Wars on European visual culture, from the outbreak of the pan-European conflict with France in 1792 to the aftermath of the Battle of Waterloo in 1815.Introduction. Contested Views: the Image in the First Total War Satish Padiyar, Philip Shaw, Philippa SimpsonPart One: Cultures of ParticipationThe Territorial Imaginary of the Revolutionary and Napoleonic WarsKatie HornsteinBeholder, Beheaded: Theatrics of the Guillotine and the Spectacle of RuptureStephanie O’RourkeSmuggled Silhouettes: Opacity and Transparency as Visual Strategies for Negotiating Royal Sovereignty During the Revolutionary and Napoleonic WarsAllison GoudieWargaming: Visualizing Conflict in French Printed BoardgamesRichard TawsBattle Lines: Drawing, Lithography and the Casualties of WarSue WalkerPart Two: War and the ImageFrom the Nore: Turner at the Mouth of the ThamesRichard JohnsGhosts and Heroes: Girodet and the Ossianic Mode in Post-Revolutionary French ArtEmma BarkerKing Ferdinand’s Veto: Goya’s 2nd and 3rd May 1808 as Patriotic FailuresSimon Lee"the most atrocious [acts] one may imagine": The So-called Series of the French Invasions and Anti-French Propaganda During the Peninsular WarFoteini VlachouThe Comic View of Johnny Newcome’s Military AdventuresNeil RamseyPart Three: Cultures of CommemorationReality Effects: War, Theatre and Re-enactment Around 1800Gillian RussellEphemeral Histories: 　Social Commemoration of the Revolutionary and Napoleonic Wars in the Paper Collections of Sarah Sophia BanksArlene LeisExhibiting the Nation’s Navy: The Foundation of the "National Gallery of Naval Art," 1795- 1845Cicely RobinsonPicturing the Battlefield of Victory: Document, Drama, ImageSusan L. Siegfried...
